To promote or not to promote fundamental British values? Teachers' standards, diversity and teacher education

In this article we seek to problematize the presence of the requirement within the teachers’ standards (DfE, 2012), that they ‘should not undermine fundamental British values’ in the context of initial teacher education in England. The inclusion of this statement within the teachers’ code of conduct has made its way from the counter-terrorism strategy, Prevent and raises questions about Britishness, values and the relationship between the state and the profession more generally. We argue that the inclusion of the phrase within a statutory document that regulates the profession is de facto a politicization of the profession by the state thereby instilling the expectation that teachers are state instruments of surveillance. The absence of any wider debate around the inclusion of the statement is also problematic as is the lack of training for pre-service and inservice teachers since it means this concept of fundamental British values is unchallenged and its insidious racialising implications are unrecognised by most teachers

Forging connections: anthologies, arts collectives, and the politics of inclusion

The changing social and political landscape of twentieth-century Britain catalysed a remarkable rise in collaborative activity by artists and activists of black and Asian heritage. Creative communities began to gather in both local and regional contexts, with the aim of sharing resources and securing an audience. This chapter records some of these many activities, tracing the groups’ genesis, manifest objectives, and key contributions. It argues that anthologising should be understood as a specifically motivated activity. Literary anthologies of poetry and fiction served to showcase the diversity of contemporary writing, while also suggesting its coherence. Drawing on the concept of “strategic essentialism” elucidated by Gayatri Chakravorty Spivak, I show that the anthology acts to ensure the visibility of a group, bannered as a unified and singly-titled selection of texts, while also insisting on the differences within: the heterogeneous multiplicity of black and Asian British experiences and creative practices

'Vernacular Voices: Black British Poetry'

ABSTRACT Black British poetry is the province of experimenting with voice and recording rhythms beyond the iambic pentameter. Not only in performance poetry and through the spoken word, but also on the page, black British poetry constitutes and preserves a sound archive of distinct linguistic varieties. In Slave Song (1984) and Coolie Odyssey (1988), David Dabydeen employs a form of Guyanese Creole in order to linguistically render and thus commemorate the experience of slaves and indentured labourers, respectively, with the earlier collection providing annotated translations into Standard English. James Berry, Louise Bennett, and Valerie Bloom adapt Jamaican Patois to celebrate Jamaican folk culture and at times to represent and record experiences and linguistic interactions in the postcolonial metropolis. Grace Nichols and John Agard use modified forms of Guyanese Creole, with Nichols frequently constructing gendered voices whilst Agard often celebrates linguistic playfulness. The borders between linguistic varieties are by no means absolute or static, as the emergence and marked growth of ‘London Jamaican’ (Mark Sebba) indicates. Asian British writer Daljit Nagra takes liberties with English for different reasons. Rather than having recourse to established Creole languages, and blending them with Standard English, his heteroglot poems frequently emulate ‘Punglish’, the English of migrants whose first language is Punjabi. Whilst it is the language prestige of London Jamaican that has been significantly enhanced since the 1990s, a fact not only confirmed by linguistic research but also by its transethnic uses both in the streets and on the page, Nagra’s substantial success and the mainstream attention he receives also indicate the clout of vernacular voices in poetry. They have the potential to connect with oral traditions and cultural memories, to record linguistic varieties, and to endow ‘street cred’ to authors and texts. In this chapter, these double-voiced poetic languages are also read as signs of resistance against residual monologic ideologies of Englishness. © Book proposal (02/2016): The Cambridge History of Black and Asian British Writing p. 27 of 4

Formula SAE Cast Magnesium Wheels

ME450 Capstone Design and Manufacturing Experience: Winter 2007The University of Michigan MRacing Formula SAE Team is interested in improving the performance of their race car, specifically through reducing weight. The wheels have been targeted as an area for weight reduction, as they are unsprung rotating mass and have the highest inertia condition on the car. To accomplish this, we have settled on designing and manufacturing a set of cast magnesium wheels. The wheels will be designed with the aid of 3D modeling software and finite element analysis, and cast out of magnesium using a sand-casting process. The tooling will be made with rapid prototyping material that will greatly reduce production time and cost. They will also be physically tested on a test rig and run on the 2007 MRacing vehicle for design validation.University of Michigan MRacing Formula SAE Team. ME 450.http://deepblue.lib.umich.edu/bitstream/2027.42/50500/1/me450w07project09_report.pd